• Christoph Schlueren is one of the most complete musicians I know. Historian, musicologist, conductor, writer, critic, and many other specialties make him one of the wonders of today’s music world, a true Renaissance man of music. His general culture is equally outstanding, as is his sense of history. His love of music is so communicative that musicians are instantly inspired by his presence. He has equally proven to be an amazing coach for young performers, able to guide them with a final touch of phrasing and concept.

    José Serebrier
  • Christoph Schlüren is a unique and masterful musician who can articulate the essence of the music at hand to an orchestra or to a student with great clarity and a sense of vision. As a conductor he is very lean and never wasteful of motion but at the same time can evoke great emotion from the orchestra. I had the honor to coach with him and to play a concerto under his musical direction and found it enlightening and freeing. He is one of those rare blends of the disciplined and the romantic,  the objective and the courageous, the result always fresh and a discovery for all involved.

    Beth Levin
  • Very rarely I have experienced that a musician and pedagogue articulates and communicates his opinion as mercilessly and authentically as Christoph Schlüren. It is incredibly refreshing in this way to work with him and to get his advise and coaching. In its quality this work exceeds anything that I learned during my time as a student and that is taught today at musical conservatories. Very often I experienced that students or young artists experienced a quantum jump in their skills after studying with Christoph Schlüren. I am particularly fascinated that Mr Schlüren doesn’t ever consider anything approximately, generally, or pretentiously. He always dismantles the substance into its components and analyses the underlying truth, the spiritual content and the true secrets of the coherences of a work, making it accessible and bringing it into the light of day.

    I recommend every artist and musician – even the most talented, advanced or even world-famous – to meet Mr. Schlüren and thus elevate his/her own musical access and execution and to crystallize this in his/her consciousness.

    Lavard Skou Larsen
  • With his knowledge about all the parameters of interpretation, including authentic performance practice, Christoph Schlüren is a unique and critical surveyor and consultant. Everything in this fine and incorruptible man is inspired by his passionate love for music. Mr. Schlüren is not only one of the best journalists and critics. For advanced artists, ensembles and orchestras who want to go deeper into the substance he is a predestinated coach and teacher. A man of knowledge who is able to help others to find their way.

    Mario Venzago
  • Studying with Maestro Christoph Schlüren was the most substantial, enjoyable and fulfilling musical experience. His intuition makes him one of the very few who are able to offer a diagnosis and troubleshoot, an attribute, that if absent, could prohibit an artist from reaching his higher self. He easily identifies hidden emotions that lie within a composition and helps transcend the musical experience and thus, making him the unique conductor, musician and coach that he is. A risk lover by nature, he continuously experiences music with the joy, love and freshness of a young child discovering the world for the first time.

    Omar Rahbany
  • Christoph Schlüren’s access to music is completely unconventional and reveals qualities that are unknown to most musicians. They begin to understand the music from the core of its energetic reality beyond conventional theoretical analysis. The structural coherences of the music become clear, every bar gets its distinct sense and function in relation to the whole, and there are no gaps left for unconscious playing.

    Ottavia Maria Maceratini
  • Working with Christoph Schlüren provides an irreplaceable quality for musicians who have completed their academic studies and want to constantly widen their horizon and deepen their knowledge, independent from style and difficulty level of the music. His teaching starts where the professional world normally is at its wit’s end. Working with him always gives fresh inspiration and infuses the musicians with power, self-assurance, lucidity, playful ease and depth of intuitive and conscious performance. No aspect of shaping, representation and expression stays untouched by this work that results in a continuous transformation leading the musician more and more to himself and making his performance increasingly objective and at the same unmistakable and individual.

    Rebekka Hartmann
  • With his extraordinary sensitivity Christoph Schlüren has initialized a new horizon in my perception of musical performance in general as well as on my particular instrument. He works in detail on musical phrasing, deconstructs old and dusty concepts and thus awakens a new and fresh, and at the same time logical, way of music-making.

    David Frühwirth
  • With Christoph Schlüren I learn in a way that is not common knowledge at any conservatories. Working with him means to bring out the specific and unique character of each piece and the musical correlation creating an indivisible whole, and should be recommended as advanced training to each conservatory graduate.

    Margarita Oganesjan


  • Von den Streichquartett-Bearbeitungen für Orchester, darunter die mit Gefühl und feiner Klangkultur musizierte Cavatina aus Beethovens Opus 130, machte vor allem das f-Moll-Quartett von Reinhard Schwarz-Schilling aus dem Jahr 1932 großen und bewegenden Eindruck. Ein umfangreiches, in die Tiefe gehendes Werk wie eine antike Tragödie: herb und dicht und schicksalhaft hart und mit Klage beschwert. Dies alles ohne großes Pathos, aber mit eindringlicher und starker Gebärde. Und mit einer Meisterschaft des Satzes geschrieben, die größte Bewunderung verdient.

    Die Gäste aus München haben dieses Quartett, das die orchestrale Verstärkung wesensmäßig verlangt, mit Christoph Schlüren großartig musiziert. Nicht nur in spieltechnischer Hinsicht, wo sehr viel verlangt wird, sondern auch in der ergreifenden klanglichen Aussage. Konzentriert und mit Hingabe. Kontrastfähig. Linienmächtig. Weit in der Dynamik. Mit Innenspannung und einer Achtsamkeit, die sich nicht zuletzt darin bewiesen hat, dass einzelne Bögen oder Satzschlüsse nicht einfach aufhören, sondern dass hier Töne zu einem Ende gebracht werden.

    Bachs Violinkonzert in E-Dur spielt Rebekka Hartmann technisch perfekt, ja brillant und mit einem Temperament und einem kühnen Zug nach vorn in den schnellen Sätzen, dass solche Virtuosität verblüfft – aber die musikalische Bindung ist bei ihr immer da. Auch an das Orchester. Bach mit Feuer und bedingungslos klar und frisch.

    Reutlinger Generalanzeiger, 19.11.2010
  • Reutlinger Generalanzeiger, 19.11.2010

    Von den Streichquartett-Bearbeitungen für Orchester, darunter die mit Gefühl und feiner Klangkultur musizierte Cavatina aus Beethovens Opus 130, machte vor allem das f-Moll-Quartett von Reinhard...

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